Bloghttp://www.31art.co.uk/2015-05-15T17:50:00ZFound on the number 12 bus - A heart-warming tale about the kindness of strangers - Anne Denningtonjustanact51http://www.31art.co.uk/blog/4588444573/Found-on-the-number-12-bus---A-heart-warming-tale-about-the-kindness-of-strangers---Anne-Dennington/9746343<content:encoded><p>Andy Johnson, one Sunday evening, got off the number 12 bus in Kemp Town, Brighton, and left a folder of his lovely artwork on the bus! He was rather distracted at the time, and that made him absent minded. He was coming to see me, but also was delivering his work to be part of the Artist Open Houses in Brighton for a deadline of the following Saturday.</p><p><p>A kind passenger on that same bus, David Dalziel, discovered the art, and started a search to find its owner. He tried to trace the artist on Facebook. Posting a picture of a painting of Newhaven from the Downs. The Facebook page was shared nearly 4,000 times as people across Sussex tried to track down this mystery artist!</p><p><p>Unfortunately Andy was not on Facebook, but luckily David also contacted the bus lost property office, the police, and was also interviewed by the <a href="http://www.theargus.co.uk/news/12914580.Found_on_the_number_12_bus>A_selection_of_landscapes_of_iconic_Sussex_landmarks/"__Argus newspaper</a> who ran the story trying to find this mystery artist. There was a happy ending, as a week later Andy got <a href="http://www.theargus.co.uk/news/12922044.Bus_watercolour_mystery_is_solved/?ref=mr&lp=7">reunited with his art, and met David</a> (because we had contacted the bus company and the police) Unfortunately this was after the deadline for the Artist Open House he planned to exhibit in, and they had already hung up their paintings.</p><p><p>Now 31Art has come to his rescue! In the last two weeks of Artists Open Houses (16th - 17th May and 23rd -24th May) Andy is going to exhibit his beautiful paintings with us. What a story!</p><p><p>We can’t thank David Dalziel, the art work saviour enough, not forgetting the bus lost property office, the Argus, and the Police.</p><p><p>Come and see Andy’s lovely paintings at 31Art!</p><p><p>Here is the <a href="http://www.theargus.co.uk/news/12914580.Found_on_the_number_12_bus>A_selection_of_landscapes_of_iconic_Sussex_landmarks/"__first Argus article</a> and the <a href="http://www.theargus.co.uk/news/12922044.Bus_watercolour_mystery_is_solved/?ref=mr&lp=7">second Argus article</a>.</p><p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4617062440.jpg" width="165" height="165" alt="" title=""/></p>
</content:encoded>2015-05-15T17:38:00Z2015-05-15T17:50:00ZSign of the timesjustanact51http://www.31art.co.uk/blog/4588444573/Sign-of-the-times/9721124<content:encoded><p>With the landslide victory to the Conservative party today it looks like this country is in for another 5 years of rhetoric about the privatisation of the NHS, and restructuring of the benefit system. A few weeks ago I took part in a free portrait photography workshop organised by <a href="http://www.ideastap.com/">IdeasTap</a>. In case you've never heard of them IdeasTap is a charity focused on helping young people (ie those under 30 years old) in the creative industries. I'm no spring chicken, but its doors are also open to older creative types depending on the form of the project. The tragic news, which I cant help but feel is a reflection of the narrow minded times we are going through, is that IdeasTap it is due to close down in June. This is a crying shame as it's a great resource for photographers, illustrators, actors, writers, and journalists.</p><p><p>The portrait workshop I attended was lead by <a href="http://owen-harvey.com/">Owen Harvey</a> a photographer who has not long graduated from university. Owen's interest is in sub cultures, specifically in the club scene for skins, mods and 90's Brit-pop types. This can involve him spending all night in a club, capturing couples dancing in the heat of the moment. He does not like to hide in the shadows, but make a statement with his bulky camera and flash gun. In these clubs he is the unofficial resident photographer for the night, the partying crowd cannot help but be aware of him. For his personal work he uses film, working 'old school', avoiding anything automatic. This approach pays dividends feeding into his commercial work for companies like Fred Perry and Sony Music, which he shoots on digital. </p><p><p>There were 11 of us on the course a mixture of graphic designers, actors, scientists, film makers, curators and - oh yes - the odd photographer. The day was divided into three main sessions - a general discussion in the morning about portrait photography, a practical session where a group of us were sent out into the streets of Bermondsey to photograph strangers, and a studio session where we got to grips with the use of flash, focal length, lights and the light meter. </p><p><p>I was truly out of my comfort zone venturing into the real world to stop people in their tracks and ask if I can take their portrait. The work I am showing in our Open House show is cool and abstract, human beings are not really the focus of attention. In those photographs you are only aware of a foot or leg or a figure in the distance. </p><p><p>So there I was, being asked to confront perfect strangers and ask them if I can take their photograph. A whole range of scenarios passed through my mind; being completely ignored, being accused of stalking, being flatly told no. I simply expected people to be very suspicious. To my surprise most people were OK about it. Some people were actually quite pleased to be asked. I did find it nerve racking. My usual sensibilities for framing the shot at times got lost due to my anxiety; usually when I just wanted to get it over with. What worked best for me was to be spontaneous, not thinking too much about specific people, but asking permission in a random, relaxed way. </p><p><p>In the afternoon studio workshop I was much more at ease. The parameters were set. I knew where we were going with this; it was all about the science of light. I enjoyed being the centre of attention when it was my turn to stand in front of the camera. So a practical session. One that got me thinking about buying a light meter, upgrading my software, investing in some studio lights and flash. </p><p><p>At the end of the workshop we looked over everyones work - it was an impressive crop - really inventive. The best photography came from those who really took risks. I think we all stepped out of our comfort zone that day, but some people took it a step further than most. Gathering the staff in the local pie and eel shop together for a group shot, or carefully composing a portrait within the city landscape. A great day. Now I think it's time to invest in some lights, get a light meter and get started on some studio portraits.</p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4617062443.jpg" width="165" height="165" alt="" title=""/></p>
</content:encoded>2015-05-08T17:57:00Z2015-05-12T12:00:00ZIt Never Rains… - Mike Higginsjustanact51http://www.31art.co.uk/blog/4588444573/It-Never-Rains…---Mike-Higgins/9680914<content:encoded><p>I first got interested in creating art as an adult after a visit to <a href="http://www.tate.org.uk/visit/tate-st-ives/barbara-hepworth-museum">Dame Barbara Hepworth’s studio workshop</a> in St Ives. If you’ve never been, it is a wonderful mix of the house where she lived, the studio where she worked and the garden with some superb examples of her sculptures. It also has a little shed with a day bed in it where she would go for a nap. Those of you who know me well know that I like nothing better than a 20 minute nap in the afternoon. It is like pushing the reset button on my mood. Anyway, I think that was when I decided I would like to create art. “Wouldn’t it be lovely,” I mused, “to spend all day in this fantastic setting, creating sculpture, stopping only for a nap and perhaps a cream tea. Then living in St Ives with the light and the food, popping up to London occasionally to visit an exhibition of your work or collect a damehood”. Ah, the naivety of a novice. The reality tends to be somewhat different.</p><p><p>I recalled this idyllic view with my head stuck under the sink, elbow deep in water trying to fix a dripping washing machine hose in advance of the Open House. Yes it may all look almost professional as you walk in, but whatever you do don’t open the door to the bedroom or look in any cupboards. The last weekend we had before we opened was spent pruning trees in the garden, fixing leaks, power washing the decking and trying to find places for the masses of stuff that we seem to have acquired since last we did the open house which was only in 2012.</p><p><p>Apart from the practicalities of the venue, I’ve been getting my poems printed, making the pendants to fix them on, and selecting and trimming the prints to go with them, as well as ensuring I have all my fixings (have you tried getting hold of 60 bulldog clips?) and some prints wrapped for the browser. Oh, and I can’t quite resist getting another linocut and hopefully etching done before we open. Alongside the physical integration of the work there is also an emotional integration – seeing a set of disparate works come together to be something that says more than any piece individually.</p><p><p>This last minute creativity is of course a double edged sword. I have exhibited with the four other artists at the other four open houses we did but there are always… tensions.</p><p><p>As I try to attach a replacement hose to finally stop the leak, Aref calls out to me urgently. “Mike, Mike”</p><p>“What is it Aref?”</p><p>“You haven’t got a plastic bag for the recycling bin.”</p><p>I take a deep breath and in a superhuman effort remain calm. I bet Babs never got this from Henry Moore.</p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4620501046.jpg" width="285" height="380" alt="" title=""/></p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4620501052.jpg" width="285" height="380" alt="" title=""/></p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4620501053.jpg" width="380" height="285" alt="" title=""/></p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4620501055.jpg" width="380" height="102" alt="" title=""/></p>
</content:encoded>2015-04-28T14:12:00Z2015-04-28T19:29:00ZBe quite... be still... - Jacqui Beyerjustanact51http://www.31art.co.uk/blog/4588444573/Be-quite...-be-still...---Jacqui-Beyer/9666825<content:encoded><p>Just over a week to go and have six paintings that are asking to be worked on further but aren't all telling me what they need. I stare at them relentlessly but no information is forthcoming. I tell them I haven't got time for this game but they are indifferent. It's hard to block out the other noises, noises in my head mostly. Distractions. Patience...be still...be quiet...and wait... </p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4617062441.jpg" width="165" height="165" alt="" title=""/></p>
</content:encoded>2015-04-24T19:36:00Z2015-04-24T21:23:00ZGetting in the way - Anne Denningtonjustanact51http://www.31art.co.uk/blog/4588444573/Getting-in-the-way---Anne-Dennington/9647358<content:encoded><p>It has been sunny in Brighton so, it has been great to see people out and about exposing their limbs in T-shirts and shorts and summery frocks. Relieved no doubt, not to be wearing their winter clothes. But we have also had some dramatic sea mists recently on the seafront. One afternoon, the pier looked like it was something out of the Arabian Nights, magically floating in the air emerging out of a cloud.</p><p>Some kids are funny. They see me sitting on my stool painting and they sprint past me apologising ‘Sorry for getting in the way of your picture!’ As they seem to think that what I am doing is like taking a photograph, how sweet :-)</p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4617062440.jpg" width="165" height="165" alt="" title=""/></p>
</content:encoded>2015-04-19T18:26:00Z2015-04-19T18:26:00ZGlasgow style - Ken McLoonejustanact51http://www.31art.co.uk/blog/4588444573/Glasgow-style---Ken-McLoone/9636465<content:encoded><p>Last week I was up in Glasgow visiting some friends and family, and taking photographs along the Clyde for the show. With a few hours to kill before returning to London on Sunday morning I dropped into the Gallery Of Modern Art on Exchange Square by George Square in the city centre. Exchange square was the scene of the terrible lorry accident on the 22nd of December last year where 6 people tragically died. So now there is a certain, unspoken sadness about the tiny square, which no doubt the passage of time will soften. </p><p><p>The main gallery was closed when we visited but the upstairs galleries were all open to the public. Normally I avoid the upstairs galleries as I always have the belief that there will be nothing of interest there for me. </p><p>There were two shows upstairs; one called ‘Ballet of the Palette’ and the other called ‘Alastair Gray – spheres of influence 1’. ‘Ballet of the Palette’ is a mixed bag of paintings selected by 10 leading Scottish artists from the Glasgow Museums 20th Century collection. This proves to be a surprising interesting exhibition, possibly because of the explanation by each artist of why they found these particular pieces of work so relevant to their own practice. For me Joan Eardley’s painting of a Glasgow kitchen scene is an unlikely star of the show. When I was 17 I was fascinated by a Joan Eardley exhibition which was part of the Edinburgh festival. I loved the rough almost abstract expressionist seascapes and landscapes she created. Though this painting is quite different from those; a dark, moody interior with a poet in the foreground warming himself in front of the kitchen stove. Next to him are some postcards of Rembrandt portraits. </p><p><p>The Alastair Gray exhibition is a small part of the Alastair Gray season which is taking part across the city over this year. It is a strange hotchpotch of his own Lanark inspired artwork and some works by the artists who influenced him; such as Durer, Gauguin and Beardsley. It’s a fascinating little exhibition culminates with a video interview with the great man himself. I think I have to return to this exhibition once I’ve read his seminal work ‘Lanark’ – I have a brand new edition waiting if not begging to be read. Reading it will give me a greater insight to this polymath’s body of work. </p><p><p>Time marches on – we leave the exhibition, pick up our luggage from the hotel, and dash to the airport – London and then Brighton await our return.</p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4617062443.jpg" width="165" height="165" alt="" title=""/></p>
</content:encoded>2015-04-16T15:26:00Z2015-04-16T15:26:00ZFrames, Mounts and Finishing Touches - Aref Makooijustanact51http://www.31art.co.uk/blog/4588444573/Frames-Mounts-and-Finishing-Touches---Aref-Makooi/9595050<content:encoded><p>Less than four weeks to the Open House and there is still a lot to do, but all very exciting!</p><p>I have been shopping everywhere for frames, online and in shops. Spending hours with a tape measure walking around stores, which made a few shoppers and shop assistance uncomfortable! People don’t really buy a painting for its frame. Everyone has a different tastes about framing. I think frames for my paintings must be neutral, but still have to have something to make the painting look visually better. I am still juggling with black or white frames. Although I have decided that I don’t want to have glass on the frames. The glass blocks the colours and reflects background light, which means that you really can’t see the painting properly. Frame shopping is almost done and I am on time, but it is the weight of them, while carrying them on public transport that has been a struggle.</p><p> </p><p>Then there is the task of mounting each differently sized painting. But what colour mount? I will probably go for black mounts, as the paintings have very bright colours, almost luminous. They have very bright colours that I love, though a fellow exhibitor once said: </p><p><p>"Your paintings will give me headache if I look at them for long." </p><p><p>And another exhibitor said in response: </p><p><p>"Well, you might have a pack of ibuprofen handy!"</p><p> </p><p>There are also a lot of finishing touches, such as spray fixing the paintings to be done. Not to mention finally the wrapping and packing for delivery to 31Art, for our exhibition.</p><p> </p><p>The weird thing is that when you paint, you don’t think of the frame or mounting. But when it comes to exhibit, it becomes the main issue. Despite all the rush and hassle, I am excited and we all are doing our best to create a very special exhibition, and I hope to see you there. </p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4618759625.jpg" width="165" height="165" alt="" title=""/></p>
</content:encoded>2015-04-06T04:00:00Z2015-04-06T11:16:00ZA grey day - Jacqui Beyerjustanact51http://www.31art.co.uk/blog/4588444573/A-grey-day---Jacqui-Beyer/9594988<content:encoded><p>A grey day which is isn't so good for painting in, but it does restrict distractions. Looking at paintings trying to work out which are finished and which aren't and what next step is. I usually have several paintings on the go, working between them, developing them at the same time, even when subjects are different. Although grey skies seem to be prevalent theme currently...</p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4617062441.jpg" width="165" height="165" alt="" title=""/></p>
</content:encoded>2015-04-04T16:51:00Z2015-04-04T17:51:00ZAn Unlike Year - Mike Higginsjustanact51http://www.31art.co.uk/blog/4588444573/An-Unlike-Year---Mike-Higgins/9549657<content:encoded><p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4619574232.jpg" width="380" height="380" alt="Tin HInge (detail)" title="Tin HInge (detail)"/></p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4619574299.jpg" width="380" height="380" alt="28 Stitches (detail)" title="28 Stitches (detail)"/></p>
<p><p>My creative output (as an adult at least) has been in three mediums. I started off with sculpture in stone and wood, then moved to ceramics and printmaking. The last two I’ve displayed at the Open House previously. The content has always been abstract or something that I’ve found to be aesthetically pleasing. This year, the content is much more personal.</p><p><p>In October 2013, Steve Punter, a fellow resident of the block of flats where I live in London, took his life following a period of unemployment and depression. I knew and liked Steve and his death left me profoundly shocked. Over the following months I really missed him. Although at an intellectual level I could make sense of the reasons why he did what he did, I couldn’t come to terms with it at all. It didn’t get any better. Indeed any unexpected death, be a person under a train or the loss of a friend of a friend, sent me to a very dark place.</p><p><p>Grief, more so than other emotions it seems, links together events that are separated in time. For instance, the death of a public person or celebrity can lead to an outpouring of grief that seems out of proportion to the closeness to that person.</p><p><p>And so it was with me. Steve’s death took me back to the loss of my Dad when I was young. I think becoming the “man of the house” at 13 complicated the process of grieving for him, and it is something that I have avoided until now, although suspected was always there.</p><p><p>So how do you grieve someone who has been dead for 30 years? How do you do it when you have no mechanism for dealing with loss?</p><p><p>For me, poetry played a key role. I’d not written a word of poetry for over 20 years but had recently started going to a poetry night, “Bang Said the Gun”, at a local pub. It arrived at just the right time.</p><p><p>The first couple of poems were both difficult and emotional to write. In fact writing them is still hard and draining. I’ve learnt that poetry allows me to visit a place to grieve, and even be overwhelmed, yet be able to safely return. It allowed me to contain the juggernaut of sadness as it thundered over the horizon on a Monday, knowing it would hit on the weekend. It allowed me to take the sucker punch of grief as I stepped of a dancefloor on an otherwise happy night out.</p><p><p>Over the year, the feelings changed and I found I could approach other things. My Mum has dementia and as a family we are losing her by degrees. I am unlikely to become a father myself. A year on from Steve’s death, a group of his friends met to remember him. And my poems have allowed me to express my love and affection in different ways too. </p><p><p>An important part of the process has been sharing the poems with others, something I want to extend in the Open House. But I didn’t want it just to be “Mike’s Wall of Misery”. I decided to illustrate some of the poems with a related print. I have played with relief printing previously and this year have learnt monoprints, drypoint and etching with various degrees of success. The process of printmaking has again allowed me to come back to the themes in a different way.</p><p><p>I hope you visit us and take something from the poems and the pictures.</p>
</content:encoded>2015-03-23T16:51:00Z2015-03-23T16:56:00ZAnne Dennington - 'En plain air' tasksjustanact51http://www.31art.co.uk/blog/4588444573/Anne-Dennington---'En-plain-air'-tasks/9534576<content:encoded><p>March is my favourite time of year to paint. As evenings and mornings are becoming lighter. And I still have Kemp Town seafront ‘almost’ to myself, before the tourists hit Brighton in the better weather. I don’t feel such a ‘Wally’ sitting outside painting in chilly weather, as joggers and runners are out there too. They have been practicing throughout the winter for their Marathons etc. Seeing them encourages me to ‘turn up’ and get outside like them.Today I put myself in the spotlight by starting work mapping out the drawing for a watercolour of Brighton Pier. I felt like a contestant from the BBC’s <a href="http://www.bbc.co.uk/programmes/p02cs0gw">‘The Big Painting Challenge’</a> on one of their ‘En plein air‘ tasks! I’m standing up to depict this view of the pier, and as soon as I put pencil to paper a couple of people came by and took photos of the same view! I take that as a good omen that I have chosen the right composition but the pier it is not an easy subject. Here’s hoping I pull it off. </p><p>Come and see our Open House and see if I do!</p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4617062440.jpg" width="165" height="165" alt="" title=""/></p>
</content:encoded>2015-03-19T10:37:00Z2015-03-19T10:41:00ZA new studio - Arefjustanact51http://www.31art.co.uk/blog/4588444573/A-new-studio---Aref/9490029<content:encoded><p>Since December 2014 I have been looking for a new studio, as our old studio building is up for demolition! I finally found a new one and moved in two weeks ago. All very exciting now! There is less space for me in the new studio, but the people I am sharing with are very nice, serious, hard working artists and famous ones! I am hoping they will all come to visit our <a href="http://www.aoh.org.uk/home">Open House</a> in May. I had a very busy summer in 2014, painting from 9am till 9pm in my studio. Have done quite a few “still life” paintings last summer, which will be displayed in our Open House exhibition this May. I will be working 9am till 9pm again in my new studio from Monday the 9th of March, and I hope to display my painting at our Open House exhibition. We had our first meeting this Saturday the 7th of March, when we discussed the private view, food, drinks, making the garden look gorgeous, as usual, and many more things. Anne made us beautiful <a href="http://www.theguardian.com/lifeandstyle/2007/nov/24/foodanddrink.baking38">butterscotch banana bread</a> that we will serve at our private view. All very excited now; the new studio and the Open House exhibition in May 2015.</p><p><p>Aref Makooi</p>
<p><img src="http://www.31art.co.uk/communities/9/004/012/959/739/images/4618759625.jpg" width="165" height="165" alt="" title=""/></p>
</content:encoded>2015-03-08T20:40:00Z2015-03-16T22:41:00Z